Name: Saving her Husband at the West River
Start: 2022-12-05T00:00:00.000Z
End: 2022-12-10T00:00:00.000Z
Location: Ko Shan Theatre

Organization

Stage director

Choy Him-heong

Shi Jihua

Lighting designer

To Wing-sum

Choreographer

Chung Kit-sum

Artistic Advisor

Yuen Siu-fai

Percussion Leader

Ko Yun-kuen

Stylised Movements Designer

Ng Mei-ying

Conductor

Ko Yun-hung

Singer

Li Qiuyuan

He Runlong

Dianna Tse Hue-ying

Han Yufeng

King Yan

Liu Kwok-sum

Head of Ghost Guards

Ng Lap-hei

Shi Chongying

Leung Sum-yee

Bingxin

Shum Pak-chuen

Zhang Qian

Hong Kong Xiqu Troupe

čínština

Saving her Husband at the West River

Hong Kong

Hong Kong SAR China

Tuen Mun Town Hall

Auditorium

Ko Shan Theatre

Public

Private

angličtina

Approved

Just as it may take ten years to hone the proverbial sword, since 2012, my husband Yun-hung and I have made a point to make a trip to Malaysia whenever time allows to consult Ms Choy Him-heong, a Cantonese Opera veteran actor in the dan role, as well as her sister Choy Tsui-hung, on matters of the art form.  We use the interview format where she would narrate orally plays from the older repertory, and we would make video recordings to be edited and compiled when we are back in Hong Kong.  We wasted not even a second of our meetings, conducting interviews and listening to her narrations inside sunlit bamboo theatres, in nearby neighbourhood eateries, or in quiet hotels rooms in the evening, as we eagerly assimilate valuable information to enhance our knowledge of the art form.  We would also try out the narrated contents on a makeshift stage for her critiquing, or, armed with camera and notepad, record a treasure trove of information in the hot and humid afternoons.  Later, during the reclusive days of the pandemic, I proofread and reconstructed the scripts, filled in the missing scenes and bits, and reminisced about this passionate and romantic journey of learning.

Saving Her Husband at the West River is part reconstructed from the traditional repertory and part newly written.  As to the traditional aspect, the scenes “Mourning the Living”, “Chastising King Yan”, “Reunion with His Wife at the West River” and “Wreaking Havoc at the Residence” follow more or less the original, while the newly written parts, namely “Encounter at the Temple” and “Disaster Strikes”, albeit adhering closely to the original ancient tone, are embellished with a fresh modern feel to make the old play content more accessible to the contemporary audience.  Yun-hung believes in putting the perpetuation of traditions before new development, which is why the highlight of the drama, “Chastising King Yan”, retains its original features, where a helpless woman like Han Yufeng, despite being outclassed in strength and status, shows immense courage which moves heaven and earth and finally succeeds in saving her husband.  Out of this trial and tribulation also comes the added accomplishment of expert martial arts so she can “wreak havoc” on her return to the human world and avenge herself with Shi Chongying and right the wrong.

During our rehearsals, Ms Choy could not be with us in Hong Kong due to the pandemic. Nevertheless, we had the fortune of having Yuen Siu-fai as artistic consultant, Ng Mei-ying for devising stylized movements, and Ko Yun-hung as artistic director to help with the reconstruction and rehearsal of the scenes from the revived versions.  All these have been crucial to the successful production of Saving Her Husband at the West River.

I feel encouraged by Yun-hung’s professional and familial expertise and my own academic background and creative avidity which have made it possible to reconstruct tradition and rejuvenate whatever is within our abilities.  I do hope that in the future, with Saving Her Husband at the West River as a starting point, we will be able to showcase our research accumulated over the years, breathe new life into tradition with modern concepts and launch a series of rejuvenated works rooted in tradition.

English

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